Jan van Eyck's "Portrait of the Arnolfini Couple" is considered the most discussed painting of the early Renaissance. It contains many hidden symbols that indicate what the plot is actually about. Even after several centuries, disputes do not subside about who is depicted on the canvas and whether the author captured himself.
The painting was painted in Bruges in 1434. Its name became known only 100 years later from an inventory entry in one of the books. It read “Large portrait of Hernoult le Fin in the room with his wife.” "Hernoult le Fin" is the French spelling Italian surname Arnolfini. In the 15th century, representatives of this family were quite wealthy merchants.
For a long time it was believed that the painting depicted Giovanni Arnolfini with his wife Giovanna Cenami, but according to archival data it was established that they got married only in 1447, that is, after the painting was ready, and the artist was no longer in alive. Modern art historians are of the opinion that it could be the same merchant, but with a former wife, or it could be Arnolfini’s cousin.
The painting is a visual confirmation of the Arnolfini wedding, but here a question arises that worries the minds of all researchers - whether the bride was pregnant. If this is so, then the wedding was a forced and therefore shameful measure. Then it is clear why the wedding takes place in a small room, which in no way corresponds to the high status of Arnolfini.
But there is another opinion. Fashion historians explain that in the 15th century, all women’s outfits were made in the “a la a little pregnant” style. In this way, the woman justified herself in the eyes of the church for her nightly sin and demonstrated that she was supposedly an “eternal mother.” Moreover, fashion experts, looking at the portrait, claim that at least 35 meters of fabric were spent on Arnolfini’s wife’s outfit, i.e. the woman simply supports the hem of the dress so as not to step on it.
Another interesting detail that explains the traditions of that time is left hand, with which Arnolfini holds his wife. Here we are talking about the so-called “marriage of the left hand.” Such alliances were concluded between people from different social circles. Compiled marriage contract, according to which the wife could not claim her husband’s inheritance in the event of his death, but only the agreed upon monetary compensation. This document was issued to the woman the morning after the wedding, which is why such marriages began to be called morganic or morganatic (from the German “morgen” - “morning”).
The interior of the room is filled with objects symbolizing the wedding. The oranges demonstrate not only the wealth of the Arnolfini (after all, they were expensive exotic fruit), but also personify heavenly bliss. Only one candle is lit in the chandelier - a symbol of the presence of the Holy Spirit. A small dog is fidelity, a rosary is a sign of piety, a brush is purity.
Arnolfini and his wife are depicted without shoes. His wooden patens lie to the side, and his wife's shoes are visible in the background. “And God said: Do not come here; take off your sandals from off your feet, for the place on which you stand is holy ground.”, - said in the Old Testament. For both, the floor of the room was “holy ground” during the wedding.
The mirror on the wall deserves special attention. It reflects the figures of the main characters and the outlines of two more people. Their faces cannot be made out, but it is clear that they are a man and a woman. Art critics suggest that van Eyck depicted himself and his wife. An indirect confirmation of this guess is the inscription above the mirror: "Johannes van Eyck fuit hic", i.e. “Jan van Eyck was here.”
For those who like to search hidden meaning, you will surely like it
Jan van Eyck (Dutch Jan van Eyck, ca. 1385 or 1390, Maaseik-1441 Bruges) - Flemish painter of the early Renaissance, master of portraiture, author of more than a hundred compositions on religious subjects. The younger brother of the artist and his teacher Hubert van Eyck (1370-1426).
The exact date of birth of Jan van Eyck is unknown. Born in the Northern Netherlands in Maaseik. He studied with his elder brother Hubert, with whom he worked until 1426. He began his activities in The Hague at the court of the Dutch counts, first mentioned between 1422 and 1426 as “Master Jan” in the rank of chamber cadet under Count Johann III. It is also known that he had only 2 brothers: the elder Hubert, the younger Lambert and sister Margaret. Since 1425, he has been an artist and courtier of the Duke of Burgundy, Philip III the Good, who highly valued him as an artist and generously paid for his work. In 1427-1428 As part of the ducal embassy, Jan van Eyck went to Spain, then to Portugal. In 1427 he visited Tournai, where he was received with honor by the local guild of artists. Probably met Robert Campin or saw his work. He worked in Lille and Ghent, in 1431 he bought a house in Bruges and lived there until his death.
Van Eyck is considered the inventor of oil paints, although in fact he only improved them. But it was after him that oil gained universal recognition, oil technology became traditional for the Netherlands; in the 15th century came to Germany and France, from there to Italy
The largest and famous work van Eyck - Ghent Altarpiece, possibly begun by his brother Hubert. Jan van Eyck worked on it at the request of the wealthy Ghent burgher Jodoc Veidt for his family chapel in 1422-1432. This grandiose multi-tiered polyptych of 24 paintings depicting 258 human figures is located in the Cathedral of St. Bavo in Ghent.
Among the masterpieces of Jan van Eyck is the “Madonna of Chancellor Rolin”, as well as a portrait of the merchant, representative of the Medici banking house, Giovanni Arnolfini and his wife - the so-called “Portrait of the Arnolfini Couple”.
Jan van Eyck died in Bruges in July 1441 (date of funeral - July 9, 1441). Van Eyck’s epitaph says: “Here lies John, famous for his extraordinary virtues, in whom his love for painting was amazing; he painted images of people breathing life, and the earth with flowering herbs, and glorified all living things with his art...”
He had several students, including the later famous painter Petrus Christus.
“According to general recognition, the most daring discoveries that marked a turning point in artistic development(of humanity), belong to the painter Jan van Eyck (1385/90 - 1441). His greatest creation is a multi-leaf altar (polyptych) for the cathedral in Ghent.” - E. Gombrich “History of Art”.
Since until the 15th century it was not customary to sign your paintings.
A crater on Mercury and the asteroid (9561) van Eyck, which was discovered on August 19, 1987, are named in honor of Van Eyck.
Pictured in Belgian postage stamp 1944.
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Every person, even those very far from art, has heard this name at least once in their life: Jan van Eyck. His paintings can be called perfect in technique and selection of colors, in plot and realism. They could easily decorate the best collections, and people who understand painting claim that the artist’s canvases have a hidden meaning and are filled with a mystery that one wants to unravel.
A little about the genius of the brush
An outstanding artist lived and worked in the Early era, Jan van Eyck, whose paintings can be studied for hours, was born in the Netherlands (now the town of Maaseik is located in Belgium) at the end of the fourteenth century. It was then that he started a new trend painting art nova, and he was taught the basics by his brother Hubert, famous in art circles. ABOUT good education Jan can be judged by the inscriptions that he left on his works. These were words in the native Flemish, French, Greek, Latin, and Hebrew. The artist also paid great attention to the smallest details, which gives the right to judge van Eyck’s powers of observation and keen mind.
Recognition during life
It is known for certain that Jan van Eyck, whose paintings delight people in the twenty-first century, was also popular with his contemporaries. In 1422, he worked at the court of John of Bavaria in The Hague, where he painted the count's chambers. True, not a single work has survived. Then the master moved to Flanders and entered the service of the Duke of Burgundy, for whom he worked for sixteen years.
Philip the Good often gave the artist secret orders, which indicates the Duke’s great trust in the painter. He also generously presented the artist with gifts and substantial cash payments. On behalf of the same Philip, Jan took part in a diplomatic mission in Portugal, the purpose of which was between the widowed Duke and Princess Isabella. In parallel with his work at court, Jan van Eyck carried out orders from churches and monasteries.
Innovative artist
What else is Jan van Eyck known for (we will list the paintings with names in our article)? The fact that many consider him the inventor of oil paints and the popularizer of technology oil painting in the Old World. In fact, the master only improved such coloring compositions, making them quick-drying and giving them the ability to be applied in several layers (including transparent). That’s why it seemed that his canvases seemed to glow from within.
Most famous works
Jan van Eyck painted many paintings. "Madonna in the Church" is one of early works, it is made using the technique of applying alternate layers on a sanded white gypsum primer coated with varnish. Therefore, it has an amazing internal glow effect. A small canvas depicts the Mother of God with the baby Jesus in a church building. In the foreground is the feminine silhouette of Madonna, who wears an expensive crown on her head. Jan drew the folds of the crowns, the interior of the temple, and the play of light and shadow in great detail. Currently this masterpiece is kept in Rome.
Jan van Eyck painted paintings that may seem strange. This is exactly what the painting “Portrait of the Arnolfini Couple” (1434) is considered to be. At first glance, this is an ordinary painting depicting a man and woman at the moment of their marriage. However, the artist’s signature in a prominent place, scenes from the life of Christ on the mirror, only one candle above the newlyweds, and so on, do not look quite standard. There is in the picture large number different symbols: oranges indicate wealth, a dog - fidelity, a candle - all seeing eye and the light of Christ. Today this work is kept in the London National Gallery.
What other paintings did Jan van Eyck create? You can see photos of some of them in the article:
- "The Ghent Altarpiece", painted in 1432 together with his brother.
- "Timothy" (1432).
- "Our Lady of Chancellor Rolin" (1436).
- "Portrait of a Man with a Carnation" (1435).
- "Saint Barbara" (1437) and others.
In total, the painter created about a hundred works on religious themes and countless portraits. His paintings attract the eye with their inner radiance, as well as the subtle skill mastered by the great Jan van Eyck. It is not for nothing that he is considered one of the true geniuses of the brush.
Van Eyck Jan (circa 1390–1441), Dutch painter. One of the pioneers of art Early Renaissance in the Netherlands, Jan van Eyck in 1422-1424 worked on decorating the count's castle in The Hague, in 1425 he became the court artist of the Burgundian Duke Philip the Good, in 1427 he visited Spain, in 1428-1429 - Portugal. Around 1430 Jan van Eyck settled in Bruges. Van Eyck’s largest work is the famous “Ghent Altarpiece,” begun, according to a later inscription on the outer doors, by van Eyck’s elder brother Hubert (worked in the 1420s in Ghent, died around 1426) and completed by John in 1432.
Jan van Eyck is one of the first masters of portraiture in Europe, which emerged as an independent genre in his work. Bust-length portraits of Van Eyck, usually depicting a model in a three-quarter turn (“Timothy”, 1432, “Portrait of a Man in a Red Turban”, 1433, both in the National Gallery, London; portrait of the artist’s wife Margaretha, 1439, Municipal art gallery, Bruges) are distinguished by strict simplicity and refinement of expressive means.
An impartially truthful and thorough depiction of a person’s appearance is subordinated to a vigilant and insightful disclosure of the main features of his character. Jan van Eyck created the first European painting a paired portrait – an image of the merchant Giovanni Arnolfini and his wife, imbued with complex symbolism and at the same time with an intimate and lyrical feeling.
The landscape backgrounds in the “Adoration of the Lamb” scene in the center of the altar stand out with subtle poetry and skill in conveying space and light-air environment. The pinnacle of van Eyck’s work is the monumental altar composition “Madonna of Chancellor Rolin” (circa 1436, Louvre, Paris) and “Madonna of Canon van der Paele” (1436, Municipal Art Gallery, Bruges). Developing and enriching the achievements of his predecessors, especially R. Campin, he transforms the traditional scene of the veneration of the Mother of God into a majestic and colorful image of the visible, real world, full of calm contemplation. The artist is equally interested in man in all his unique individuality and the world around him. In his compositions, portrait images, landscape, interior, and still life appear on equal terms and form a harmonious unity. Extreme care and at the same time generality of painting reveal the intrinsic value and beauty of each object, which in van Eyck’s work acquires real weight and volume, a characteristic surface texture.
The details and the whole in his works are in an organic relationship: architectural elements, furnishings, flowering plants, luxurious fabrics, decorated precious stones, as if embodying particles of the infinite beauty of the universe: the panoramic landscape in “The Madonna of Chancellor Rolin”, full of light and air, is perceived as collective image Universe.
Van Eyck's art is imbued with a deep understanding of existence as the logical embodiment of God's providence, the expression of which was a strict, thoughtful and at the same time vitally natural construction of the composition, full of a subtle sense of spatial proportionality. Solving the creative problems van Eyck faced required the development of new means artistic expression. He was one of the first to master the plastic possibilities of oil painting, using thin, translucent layers of paint placed one on top of the other (the Flemish style of multi-layered transparent painting). This painting method allowed van Eyck to achieve exceptional depth, richness and luminosity of color, subtlety of light and shadow and colorful transitions. The sonorous, intense, pure tones of colors in van Eyck’s paintings, permeated with air and light, form a single harmonious whole.
The work of the artist van Eyck, in the brightest way which recreated the beauty and living diversity of the universe, largely determined the path further development Dutch painting, the range of its problems and interests. Not only the Dutch, but also Italian masters Renaissance (Antonello da Messina).
Works of Jan van Eyck, Hieronymus Bosch, Pieter Bruegel the Elder
The Northern Renaissance is the era of cultural development in the mid-sixteenth century in Germany, France, Switzerland, North Flanders and the Netherlands. Main feature This period is the genetic inheritance of the art of late Gothic. The Northern Renaissance was born in Burgundy in the courtly and knightly work of the painters of the Limburg brothers. Then the school of Dutch painting began to play a dominant role in this era.
Paintings by artists Dutch school were distinguished by a pantheistic worldview, the most close attention to the slightest detail or the slightest phenomenon of life.
Dutch painter Jan van Eyck (circa 1390–1441) - part 1. Van Eyck Jan(c. 1390-1441), Dutch painter. One of the pioneers of Early Renaissance art in the Netherlands."Most main artist of our century” - this is what his younger contemporary, the Italian humanist Bartolomeo Fazio called Jan van Eyck. He gave the same enthusiastic assessment a century and a half later Dutch painter and biographer Dutch artists Karel van Mander: “What neither the Greeks, nor the Romans, nor other peoples were able to achieve, despite all their efforts, was achieved by the famous Jan van Eyck, who was born on the banks of the lovely Meuse River, which can now challenge the palm of the Arno, Po and the proud Tiber, since such a luminary rose on its banks that even Italy, the country of art, was amazed by its brilliance.” Very little documentary information has been preserved about the life and work of the artist. Jan van Eyck was born in Maaseik between 1390 and 1400. In 1422, Van Eyck entered the service of John of Bavaria, ruler of Holland, Zealand and Genegau. For him, the artist performed work for the palace in The Hague. From 1425 to 1429, he was the court artist of the Burgundian Duke Philip the Good in Lille. The Duke valued Jan as an intelligent, educated man, according to the Duke, “unmatched in art and knowledge.” Often, Jan van Eyck, on the instructions of Philip the Good, carried out complex diplomatic assignments. Information reported by chroniclers of that time speak of the artist as a multi-talented person. The already mentioned Bartolomeo Fazio wrote in the “Book of famous men"that Ian was passionate about geometry, created a kind of geographical map. The artist’s experiments in the field of oil paint technology speak of his knowledge of chemistry. His paintings demonstrate a thorough acquaintance with the world of plants and flowers. There are many ambiguities in creative biography Yana. The main thing is Jan's relationship with his older brother Hubert van Eyck, with whom he studied and with whom he completed a number of works. There are disputes about individual paintings by the artist: about their content, painting technique. The work of Jan and Hubert van Eyck owes much to the art of the illustrators of the Limburg brothers and the altarmaker Melchior Bruderlam, who worked at the Burgundian court at the beginning of the 15th century in the style of Zion painting of the 14th century. Jan developed this style, creating on its basis new style, more realistic and individual, heralded a decisive turn in altar painting in Northern Europe. In all likelihood, Jan began his work with miniatures. Some researchers attribute to him several of the best sheets (“Funeral service” and “Taking Christ into custody,” 1415-1417), the so-called Turin-Milan Book of Hours, performed for the Duke of Berry. One of them depicts Saint Julian and Saint Martha carrying Christ across the river. True Images various phenomena in fact, were found in Dutch miniature even before van Eyck, but before no artist had been able to combine individual elements into such art with such skill complete image. Van Eyck is also credited with the authorship of some early altars, such as the Crucifixion. In 1431, van Eyck settled in Bruges, where he became a court painter, as well as an artist of the city. A year later, the artist completed his masterpiece - the Ghent Altarpiece, a large polyptych consisting of 12 oak doors. His elder brother began work on the altar, but Hubert died in 1426, and Jan continued his work.
Madonna of Chancellor Rolin
1435, Louvre Museum, Paris. “Madonna of Chancellor Rolin” (1435) - one of best works masters “The stones shine, the brocade shines with colors, and every fluff of fur and every wrinkle of the face irresistibly attracts the eye. How expressive, how significant are the features of the kneeling Chancellor of Burgundy! What could be more magnificent than his attire? It seems that you feel this gold and this brocade, and the picture itself appears before you as jewel, then like a majestic monument. It is not for nothing that at the Burgundian court such paintings were kept in treasuries next to golden boxes, books of hours with sparkling miniatures and precious relics. Take a closer look at Madonna's hair - what in the world could be softer than it? In the crown that the angel holds over her - how she sparkles in the shadows! And behind the main figures and behind the thin colonnade is a river going into a bend and a medieval city, where Vaneykov’s amazing painting sparkles in every detail.”
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Madonna of Chancellor Rolin", details
The artist is equally interested in man in all his unique individuality and the world around him. In his compositions, portrait images, landscape, interior, and still life appear on equal terms and form a harmonious unity. Extreme care and at the same time generality of painting reveal the intrinsic value and beauty of each object, which in van Eyck’s work acquires real weight and volume, a characteristic surface texture. Details and the whole are in an organic relationship: architectural elements, furnishings, flowering plants, luxurious fabrics decorated with precious stones, as if embodying particles of the infinite beauty of the universe: the panoramic landscape full of light and air in “The Madonna of Chancellor Rolin” is perceived as a collective image Universe.
Portrait of the Arnolfini couple
1434, National Gallery, London.The double “Portrait of the Arnolfini Couple” (1434), along with the Ghent Altarpiece, is van Eyck’s most important work. According to its design, it has no analogues in the 15th century. The Italian merchant, representative of the Medici banking house in Bruges, is depicted in marital peace with his young wife Giovanna Cenami.
Madonna and Child, 1433
Lucca Madonna , 1430, Städel Institute of Arts, Frankfurt am Main
Madonna of Canon van der Paele 1436, Art Gallery, Bruges
Stigmatization of Saint Francis
1429 This small painting was painted in Spain in 1428-29.
There is a later copy (circa 1450) in the Sabauda Gallery, Turin, Italy. Having retired to Mount Alverna in 1224, Francis one day, while in prayer, saw a vision which, according to Thomas of Celan, was a man like the Seraphim with six wings, his arms were outstretched, and his legs stood, “forming the shape of a cross.” Contemplating this, Francis discovered the marks of Christ's wounds that appeared on his body (on his arms, legs and chest) and remained on him until his death, which occurred two years later..
Madonna with a Carthusian monk
Altar of the Virgin Mary1437
The central panel of the small altarpiece represents the Madonna and Child in the church, the left panel depicts St. George and the donor (the one who commissioned the triptych), the right panel depicts St. Catherine. When closed, the triptych's doors depict the Annunciation.
Madonna and Child, 1439
Jan van Eyck was also a remarkable innovator in the field of portraiture. He was the first to replace the chest type with a waist type, and also introduced a three-quarter turn. He laid the foundation for that portrait method, when the artist focuses on the appearance of a person and sees in him a certain and unique personality. Examples include “Timothy” (1432), “Portrait of a Man in a Red Cap” (1433), “Portrait of his Wife, Margaret van Eyck” (1439), “Portrait of Baudouin de Lannoy”.
Portrait of a man in a turban, 1433 (according to one version - a self-portrait of the artist)
Portrait of his wife Margret van Eyck, 1439
Portrait of Cardinal Albergati, 1432
Portrait of Baudouin de Lanoy, 1435
Timofey 1420
Portrait of a Man from Garofano 1435
Portrait of Jan de Leeuw 1436
Portrait of Giovanni Arnolfini 1435
Portrait of a Jeweler (Man with a Ring) 1430
St. Barbara 1437, wood, oil, 31 x 18 cm Royal Museum Fine Arts 1437, Antwerp
This work is the subject of long debate among scientists who have not come to unanimous opinion, whether the work is a completed drawing or an unpainted painting. The silver drawing was made with the finest brush on a primed board (looks like marble) inserted into the author’s frame with the inscription: “John van Eyck made me in 1437.” Behind the back of a beautiful maiden sitting on a hill with a book and a palm branch of the martyr in her hands, the construction of a tower is underway, which is her attribute, but interpreted by van Eyck in a genre key depicting a mass of labor episodes.
Saint Jerome
Madonna in the Church 1422-1425
No later than 1426 it was written “ Madonna in the church"is one of Van Eyck's early works. Like most of his works, the painting seems to glow from within, giving rise to a feeling of sublime joy. This striking effect of internal glow was achieved by layer-by-layer application of oil paint on a white gypsum primer, carefully sanded and varnished. The asymmetrical composition, unusual for Van Eyck, is explained by the fact that this is the left wing of a diptych. The other wing is lost, but copies from that time confirm this.
Annunciation1420
Annunciation 1435
These two panels present " Crucifixion" And " Last Judgment "It is assumed that the panels were the wings of a triptych, the central group of which is lost. However, from the themes of the paintings it is impossible to say whether it was originally conceived as a diptych or a triptych. These two small paintings can be looked at for a long time and with interest. Every detail is painted carefully and in detail - from the alpine landscape, the subtle Body of Christ and the feelings on people's faces to the scenes of Hell and Heaven. The inscriptions at the top of the panels are sayings from the Bible.
Sconce tya Jan and Hubert van Eyck Ghent Altarpiece folded with shutters closed
Van Eyck has long been considered the inventor of oil paints. However, in reality he just improved them. Opened by artist the recipe for preparing paints turned out to be so successful that oil painting soon became firmly established in Dutch art, and subsequently spread throughout Europe, taking a dominant position in European painting and maintaining it until late XIX V. Although oil paints were already used in the 14th century, but van Eyck, in all likelihood, created a new mixture of paints, possibly tempera with oil, thanks to which he achieved unprecedented luminosity, as well as a varnish that gives the painting opacity and shine. He was one of the first to master the plastic possibilities of oil painting, using thin, translucent layers of paint placed one on top of the other (the Flemish style of multi-layered transparent painting). This mixture also made it possible to soften and nuance colors. In van Eyck's art, the new technique served an exceptionally well-thought-out composition, allowing one to convey the unity of space. The artist mastered a perspective image and, combining it with the transmission of light, created a plastic effect that was previously unattainable. Van Eyck is considered one of the most significant artists of his time. He initiated a new vision of the world, the impact of which extends far beyond the boundaries of his era. The artist died in Bruges in 1441. Van Eyck’s epitaph says: “Here lies John, famous for his extraordinary virtues, in whom his love for painting was amazing; he painted images of people breathing life, and the earth with flowering herbs, and glorified all living things with his art...”